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    The language of living : developing intelligent novices at the Suter Art Gallery : a thesis presented in fulfilment of the requirements for the degree of Masters of Philosophy in Museum Studies at Massey University, Palmerston North, New Zealand
    (Massey University, 2010) McNaughton, Esther Helen
    This research was founded in Bruer’s (1993, p.15) concept of the intelligent novice, considering students visiting an art gallery could be so described. He defines intelligent novices as “people who learn new fields and solve novel problems more expertly than most, regardless of how much domain-specific knowledge they possess. Among other things, intelligent novices seem to control and monitor their thought processes”. Peckham’s (1965) ‘cognitive dissonance’ is related, describing how some novice learners respond in cognitively threatening situations. These theories are augmented by Efland’s (2002) exploration into art and cognition, in particular, the concepts of ‘ill-structured cognitive domains’ and ‘cognitive flexibility’. Drawing on and reconceptualising these theories, this research addresses how the art gallery environment helps students become intelligent novices. The case study focuses on the researcher’s education programmes located at The Suter, Te Aratoi a Whakatu, Nelson, New Zealand’s oldest public art gallery, established in 1898. This crossdisciplinary research bridges education and museum studies, and is action-based using mixedmethods. Through a process of journaling, observating, discussing, dialoguing, audio and video recording, as well as collecting and analysing documents including students’ work, the researcher considered how young students develop as intelligent novices. She found that their learning in the art gallery was enhanced by three interrelated factors: the individual’s agency, physical aspects of the art gallery, and the community of practice which developed around class visits, each essential to the development of the intelligent novice. A framework was developed to support art museum educators in facilitating these attributes. The thesis suggests that: Intelligent novices independently make effective connections between prior learning and novel situations; Within the art gallery as an ill-structured domain, the art gallery educator works with communities of practice to support development of intelligent novices; Repeat gallery visits enable students and communities of practice to practise particular strategies in order to develop as intelligent novices. Intelligent novices flourish when all members of the communities of practice demonstrate such characteristics. It concludes that, due to the ‘ill-structured’ nature of the art gallery environment, and its cultural role in society, the role of the intelligent novice is as active cultural transformer.
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    Going public : New Zealand art museums in the 1970s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University
    (Massey University. School of Maori Studies, 1999) McCredie, Athol
    This thesis examines the reputation the 1970s have as a renaissance era for New Zealand public art galleries.It does this by considering the formation and development of galleries in the period as well as their approaches. Public and community involvement, energy, innovation, activism, and engagement with contemporary New Zealand art are key areas of approach investigated since increases in each are associated with galleries in the seventies.The notion of a renaissance is also particularly associated with provincial galleries. In order to examine this idea in detail three "provincial" galleries are taken as case studies. They are the (then named) Dowse Art Gallery, Govett-Brewster Art Gallery and Manawatu Art Gallery.The seventies are revealed as a "culture change" era for public art galleries in New Zealand. New ones were founded, many were rebuilt or substantially altered, and there was a shift from the rule of the amateur to that of the professional. The majority of existing galleries went from being static institutions with few staff, neglected collections, and unchanging exhibitions, to become much more publicly oriented and professionally run operations. Moreover, while change occurred across nearly all institutions, it tended to be led from the provinces.Several reasons are suggested for the forward-looking nature of the three case study galleries. One is that they reflected the energy and flexibility that goes with new, small organisations. Another is that all three existed in cities with little appreciation of art and culture and so had to strenuously prove themselves to gain community acceptance and civic support.Other galleries, particularly the metropolitans, are shown to have followed the lead of the progressive focus institutions. Influencing factors on changes in all New Zealand galleries are therefore also sought. They include the growth in new, well educated, sophisticated, and internationally-aware audiences; greater production and public awareness of New Zealand art; interest in exploring a New Zealand identity; world-wide revolutionary social changes in the '60s and '70s; and increased government funding for building projects.The changes that took place in New Zealand art galleries in the 1970s are shown to sit within the wider contexts of increasing trends towards public orientation by museums internationally, both before and during the decade, and in New Zealand since the seventies. However, the very notion of public orientation is also suggested to be historically relative and, ultimately, politically driven.